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Basic Instinct (1992)

R  |   |  Drama, Mystery, Thriller  |  20 March 1992 (USA)
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Ratings: 6.9/10 from 126,334 users   Metascore: 41/100
Reviews: 291 user | 117 critic | 28 from Metacritic.com

A violent, suspended police detective investigates a brutal murder, in which a seductive woman could be involved.



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Nominated for 2 Oscars. Another 5 wins & 17 nominations. See more awards »



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This is the sequel to "Romancing the Stone" where Jack and Joan have their yacht and easy life, but are gradually getting bored with each other and this way of life. Joan accepts an ... See full summary »

Director: Lewis Teague
Stars: Michael Douglas, Kathleen Turner, Danny DeVito


Cast overview, first billed only:
Lieutenant Nilsen (as Daniel Von Bargen)
Dr. Lamott
Bill Cable ...


A former rock star, Johnny Boz, is brutally killed during sex, and the case is assigned to detective Nick Curran of the SFPD. During the investigation, Nick meets Catherine Tramell, a crime novelist who was Boz's girlfriend when he died. Catherine proves to be a very clever and manipulative woman, and though Nick is more or less convinced that she murdered Boz, he is unable to find any evidence. Later, when Nilsen, Nick's rival in the police, is killed, Nick suspects of Catherine's involvement in it. He then starts to play a dangerous lust-filled mind game with Catherine to nail her, but as their relationship progresses, the body count rises and contradicting evidences force Nick to start questioning his own suspicions about Catherine's guilt. Written by Soumitra

Plot Summary | Plot Synopsis


A brutal murder. A brilliant killer. A cop who can't resist the danger. See more »

Motion Picture Rating (MPAA)

Rated R for strong violence and sensuality, and for drug use and language | See all certifications »

Parents Guide:






Release Date:

20 March 1992 (USA)  »

Also Known As:

Love Hurts  »

Box Office


$49,000,000 (estimated)


$117,727,224 (USA)

Company Credits

Production Co:

,  »
Show detailed on  »

Technical Specs


| (unrated)

Sound Mix:

| (France)



Aspect Ratio:

2.35 : 1
See  »

Did You Know?


So choreographed were the sex scenes that Sharon Stone referred to herself and Michael Douglas as "the horizontal Fred Astaire and Ginger Rogers of the '90s". See more »


The camera is reflected in the bed posts when Catherine and Nick are in bed. See more »


Gus: You got goddamned Tweety Birds flutterin' around your head, that's what you got! You think you can fuck like minks, raise rugrats, and live happily ever after? Aw, man!
See more »


Referenced in Making Up! (1993) See more »


Movin' On Up
Written by Jeff Barry and Ja'net DuBois (as Janet DuBois)
Courtesy of ELP Communications
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Frequently Asked Questions

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User Reviews

Thriller which achieves screen magic of the golden age.
27 September 2001 | by (Ontario, Canada) – See all my reviews

Paul Verhoeven has created a masterwork from Joe Eszterhas' controversial script. Several sex scenes become a leitmotif, as the participants appear to pummel, rather than love, one another with their nether parts. But the most rugged and the most erotic scene occurs between Detective Nick Curran, Michael Douglas, and his colleague, Beth Garner, portrayed by Jeanne Tripplehorn. He throws her against a wall and then against the back of a chesterfield. That is only the foreplay. In this film sex is violence, and that is Verhoeven's theme.

But there is more. Sharon Stone as Catherine Tramell has a beautiful blonde form in that Beach Boy / California girl manner. She plays her 'flashing' scene in the police interrogation room with wit and a touch of class. Throughout the film she is arch, intelligent, electric. Her foil, Nick Curran, a troubled detective, realizes she might be a murderer, but finds her personality and her allure, irresistible. Douglas' performance is driven, masculine, affecting ... yet he would be well advised to keep his trousers on henceforth, for his sagging bottom is simply too comical.

There are several echoes of Alfred Hitchcock's Vertigo (58). Both pictures have as a setting the picturesque San Francisco area. Jerry Goldsmith's music recalls Bernard Herrmann's symphonic score. The stairwell in Curran's apartment building resembles the vertiginous staircase of the Mission bell tower. And as with Hitchcock the dialogue is often simultaneously risque and humorous, although more vulgar in keeping with the tenor of modern times.

Eszterhas' script is carefully crafted, and it does not cheat. Life proves ambiguous at many levels, and so does art. The mystery is dark; the action, including a car chase, thrills; and the locale continually shifts, from a cop station to Catherine's lovely seaside house to a colorful bar where Catherine's jealous female lover and Curran engage in a sensual battle for her charms.

Day, night, sun, rain, streets, highways, scenery, ocean, sex, emotion, confrontations, death ... the film envelops everything, perhaps even love. Here, Verhoeven, Eszterhas, Douglas, Stone, have achieved some screen magic of the past.

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